Double-whammy.

I guess he was in a (straight) dry spell for 7 years and then dated a guy for two and after the breakup wasn't sure if he was into dudes or not.

... moving right along.

I'd love to sit and talk with you. To sit and laugh with you and tell stories with you. I'd love to hang out with you and go to parties with you and tell people our stories together. I'd love to have you over. I'd love to. I'd love. I'd love you. I'd love to go to parties with you and tell people our stories together. I'd love to sit with you and tell stories together. I'd love to sit and talk with you.
And I'd love to have beers with you and smoke pot together. I'd love to go camping with you. And road-trip together.
But even more
I'd love to. I'd love to have that response to anything from you. To whatever you'd like to do.
But you never do. You'd like to, but never love to. Not unless it was anything else.
I'd love, but you don't. You're comfortable, and make yourself at home.
But you're a nomad just like me, only you've found more home than me.
And I'd love, but you don't. You're comfortable and will make yourself at home.
And make a new home and never share it. And you'll find yourself alone.
You'd love to, 'cause you're a nomad just like me. And I'm comfortable, you can make yourself at home.
You always do. You love it, and it's comfortable, and it's home.
I'd love to, but you don't.
You never do.

Wrong tree,

my bad. I'd like to not bark up the wrong tree at least once before I graduate, or at least before I die. It would be really cool to be into someone, who was also into me. And it would be nice to make a move away from the ambiguous, questioning, misleading, easily misinterpreted straight guys, too. This is more or less a Flg. specific issue as of late though. Anyway.

By the way, the concerto was becoming a highly developed genre by this time, and had already been adopted by Bach years before with his own Brandenburg concertos as well as his transcriptions of Vivaldi's concertos and his own into concertos for harpsichord. Furthermore, many of Bach's contemporaries were writing concertos at this same time including, but not limited to, Handel, Telemann, Corelli, and Albinoni, just to name a few.

Concerted music had also become the norm by now with a capella music falling out of favor. Examples of this include much of Bach's cantatas, his passions, his mass segments, and his Missae as well as various mass settings from all over, like Dresden which featured the rich, virtuostic masses of Zelenka.